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Shirin Art Gallery Jan 2014 Machine Automobile Hossein Soltani 01

ماشین و اتومبیل

کمتر موضوعی است که تبدیل به دغدغه برای هنر و هنرمند نشده باشد، خواه از منظر ریختی، خواه محتوایی. دست مالی کردن سوژه تبدیل به فندی فاخر شده که همه تمام قد برای دفاع از خود در برابر خود علم میکنند؛ روندی که گاه پیرو برساخت اجتماعی هنر است و گاه خاستگاهش بازار هنری، که البته هر دو در صدد پیشبرد کنش هنری هستند.

از زمان ورود اتومبیل به ایران بیش از ۱۰۰ سال میگذرد و از ورودش به عرصه هنر شاید ۵۰ سال. شاید بتوان گفت شروع شاعرانه با "فیات نقاشی شده حسین زنده رودی" به سال ۱۳۴۰ آغاز شد، زمانی که کمتر کسی ماشین را زمینه ای میدانست در حیطه کار هنری؛ در دوره های بعد تر ماشین دغدغه ای جدی برای برخی به حساب آمد، مثالش "سحابی" فقید، منتها کمتر هنرمندی بود که توجهش جلب شود به چرائی این ورود، اما فصل نو، باری نو به همراه داشت. حالا ماشین نه تنها وسوسه ای شده برای هنر بلکه سوژه ای ست برای چالش ها و نشست های دور همی، از چیدمان های خصوصی تا کارهای گروهی.

این واکاوی در سوژه گاه با پس زدگی های زندگی اجتماعی حاصل میشود، زندگی در جامعه ای که همه در آن با نگاهی واپس گرا در پی کشف آینده ای گنگ به سر میبرند و به طور مداوم در پی کشف و شهود بازاری متلاطم هستند؛ در این بین اما بودند کسانی که لااقل در دوره ای منسجم از کارهایشان این تکه پاره ی آهنی را مبنا قرار دادند و با تکیه بر اصول و فضای کاری خودشان تصویری برای بیننده فراهم آوردند، تصاویری در قاب هایی متفاوت از مدیاهای گوناگون؛ نقاشی، عکاسی، حجم و ویدئو. آثاری که در پسشان حوصله ای بیشتر از 

“Machine, Automobile,”

Contemporary artistic practice seems to have few qualms over what it takes as subject—from the most commoditized or banal objects to the most rarified material, nearly any matter is now capable of supplying content and inspiring form. “Machine, Automobile,” explores the car’s explosive prominence over the past half-century, asking what commonalities emerge from the car’s centrality in a range of artistic practice while engaging the incommensurable diversity in the works’ aesthetic form and pictorial concerns.

The car entered Iran about one hundred years ago, integrating itself into social life and, roughly fifty years later, into art. Charles Hossein Zenderoudi’s Fiat (1961) was a first to break pictorial convention by establishing the car as a painterly subject. Denoting the car as a fact of social life, and carrying with its artistic representation the cultural shifts of an increasingly industrialized and globalized Iran, Zenderoudi’s painting was the first in a proliferation of artistic works that take the car as a romanticized object, compelling artistic form, or quotidian fact of an urbanized landscape.

Understanding the car’s import within the varied artistic oeuvres on view in “Machine, Automobile,” demands we ask what social and artistic considerations, individual desires in the present, and collective ideals for the future, converge in the representation of this metal machine. While we could seek a more sociological analysis attempting to qualify and analyze the magnetic fascination galvanized by the car, or look to the artistic market and ask whether the prominence of the car’s image is driven by popular demand, such explanations would reduce the intriguing complexity and nuance of the car’s place in life and in art. Suffice to say that the only justification that holds true—inexplicably, yet continually, compelling—is just that of the car.

نمایشگاه گروهی " ماشین ، اتومبیل " با گردآوری " حسین سلطانی " دی 1392 گالری شیرین


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More About Tehran

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